THIRD YEAR/Bolton/Advanced Practice

HE6 Advanced Practice & Theories in Context
Proposal
 

Name: Charlotte Stockley                               

Project Title: The Art of Mindfulness

Within relation to my creative practice, my intent is to explore and investigate the themes and subjects surrounding mental health and the effects on the physical human form. (Female form as a starting point). My objective throughout this process is to develop and consider underlying themes of emotion; influenced and subjugated by Depression, Anxiety and Body Dysmorphic disorder as common themes/and/or starting points. ‘About a quarter of the population will experience some kind of mental health problem over the course of the year, with mixed anxiety and depression the most common mental health disorder in Britain’ (Mental Health Foundation, n.d). To capture and expose the conflicting perspectives of individuals through hidden and seen emotions -impacted on by various mental health traits- my investigative processes will explore colour association, responsive mark making and representations of form leading to aesthetical and conceptual final outcomes within print and paint. My intention is to expose and correlate these internal emotions into aesthetically thought-provoking outcomes.

My reasons for the practical and contextual research is to accumulate further knowledge on said themes, combined with developing a clearer understanding of the imprint and influence mental illness embeds on individuals, in both independent and social situations. The utilisation of mark making as a means of communication and language, is a direction I wish to investigate.  ‘An artist’s own self-consciousness about their own physical and creative processes’ (Robertson and McDaniel, 1950:81), has encouraged me to explore myself (the artist) as a primary motif, alongside expressing diverse emotions physically (an extension of self) through my creative practice aiding as a personal, self-expressive cathartic exercise. Using the figure to create form and colour symbolism to express challenging emotions, my aim is to generate works which illustrate difficult concealed emotions and to question the social and cultural views surrounding mental health.

The objective is to link the contextual, critical and analytical research through to my ongoing studio and practical activities.  Sourcing a range of contemporary and historical practitioners to influence and underpin my practice will encourage and prompt a solid grounding for my contextual and practical exploration. Francis Bacon’s disfigured, spontaneous figure drawings have recurrently challenged conceptions surrounding portraiture and exploration of the human physique. The enthralling images of twisted bodies engross the audience into a lurid idealism of isolation and distress, similar to my suggestive exploration into themes of vulnerability and helplessness. Equally, expressionist painter Edvard Munch - whose father’s mental illness consequently impacted on his upbringing and artwork - is also of importance and excitement to my line of practical and theoretical enquiry. Portraying scenarios of life, death, loneliness and terror, Munch was able to capture the repressed internal view of his subjects, by means of vibrant/subdued blocks of colour, contrasting lines and exaggerated forms, Munch created symbolic, bold and emotionally provocative and challenging artwork. Further works by Karal Appel, Yves Klein, Asger Jorn and Robert Morris will also be critically analysed and researched throughout the duration of my study.

Collating relatable contextual research, utilisation of relevant documentaries and books will be analysed and recorded. ‘Art – The Definitive Guide’, Andrew Graham-Dixon, clearly documents, historical and influential artwork throughout a timeline of art movements, thus allowing me compare and contrast historical and modern artwork.  ‘Ways of seeing’, John Berger, offers varying angles and perspectives of understanding surrounding a range of themes concerning beauty and form to truth and civilisation. ‘Themes of Contemporary Art’, C.McDaniel and J.Robertson, discusses modern themes and practical 2D and 3D approaches.

Online information listed on MOMA, The Tate, The National Art Gallery and similar websites will reinforce my practical and contextual links. Associated information from; past and present exhibitions, journals, artist talks and topics including drawing, investigating mental health, audio arts and art movements will be referenced thoroughly  and expanded on during my blog and work book. My contextual extended essay will aid in the development and expansion of my knowledge of chosen themes, artist and techniques.

To conduct further associated research various enquiry methods will be applied. Conducting data analysis/interviews from selected persons will enable me to expand my understanding of mental health from another’s perspective, plus providing valuable information supporting my investigations. Inviting these individuals to participate in my study by physically using marks and colours to represent themselves and interpret their emotions through drawing will offer me with initial preliminary starting points. This process will correlate to additional underlying subjects querying personal, social and cultural perceptions and judgment of the self. Using my previous links with Arts for Health, Royal Albert Edward Infirmary can contribute with facts, statistics and information based on how creating artwork or observing artwork affects/supports individuals with mental health conditions. 

Throughout this continuing process my purpose is to gain a comprehensive practical and contextual analysis of mental health and art. During this project, exploring with drawing in print, paint and possibilities of video, I hope to grasp a deeper awareness of my own/others emotions in conjunction with questioning society’s attitude and cultural stigma surrounding issues of Depression, Anxiety and Body Dysmorphic disorder. Ongoing documentation of research, practical reflections, tutorials and peer critiques will play a key role in the progression and development of my themes and narratives. Thus, creating significant and reinforcing links between my practical work and contextual dissertation. 

2D, 3D, Language - It's Okay, Not to be Okay
 

For my initial advanced practice project, my aim was to create a piece using 2D, 3D and language to prompt the start of my practical based work. My project is aiming to explore the underlying feelings and emotions of people suffering with, depression, anxiety, and Body Dysmorphic disorder. As these emotions have often been underlying aspects of my previous work, my intent is to challenge myself, others and the viewers perception and understanding of mental health through my drawings. 

From personal experience and listening to that of others, people who suffer from poor mental health (some aspects) may have a complete obsession or utter rejection of looking at their reflections in a mirrored surface. This is a vital aspect which I wanted to include and depict throughout my initial starting points. How people perceive themselves or how they want to be perceived can hugely affect their social experience. To explore this area I decided to create some continuous line drawings of myself using my appearance as a outline, but subconsciously and instinctively allowing my lines and marks to portray my internal emotions. The outcome of these drawings where distorted and hardly recognisable, but honest. 

Previously to this project I had been made aware of a quote, which resonated and related to my project. It read ‘It’s okay, not to the okay’. For me this quote represented my individual stance on these situations and I believe it to be a largely inspiring quote to people who may be suffering. Even in todays society mental health is still an area which is in my opinion misunderstood. I believe that through drawing we are able to express ourselves in ways which we may not always be able to openly discuss. 

My intention of placing the mirror next to the drawing was to portray the difference of perception in what people see in a mirror, compared to the feelings and emotions they are hiding. The contradiction of hidden and seen emotions. 

Continuation into Mono-printing